The structure of the film is incredible. It is not a time-travel, but the opposite, allowing time and historical events to come to a modern space, a group of modern people in a modern French city, earnestly endure the suffering of World War II. This kind of "reverse time travel" is easy to confuse people, but the director and leading actors of the film use a calm and sincere narrative mode to smooth out possible glitches and slowly lead human empathy to the depths
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Although the story of the film is not too unexpected, the earlier refugees, superimposed with the refugee wave of the 21st century in Europe, have produced a rather wonderful sense of continuity. The encounter between refugee and refugee, the intersection of history and this life, all stories merged together to form a timeless Transit space. This kind of appeal creates a kind of difficulty in watching movies. Petzold did not shoot the film as a historical film, and did not clarify the right, wrong, past, and present, so this created a sense of chaos and confusion in the entire film
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The hot topic of refugees doesn't take the spotlight in the film as it has in many failures, but it fits naturally into the story. The film does not only focus on the urgency and unease of a pair of life and death lovers. Through the time and space dislocation of unintentional dazzling skills, strong literary temperament and gentle mirror movement, it not only tells a melancholy and romantic story, but also calmly and restrained lays the groundwork for World War II. grand background. Being able to coexist in one production is enough to be one of the great films of 2018, even if it's not perfect
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